Funk IA — groove, basse slappée, cuivres serrés. Tout est rythme.
tempo moyen 109 BPM (de 58 à 144) · 49 titres · énergie moyenne 74 %
Les consignes réellement utilisées pour produire les 49 titres Funk du catalogue, relevées sur les morceaux eux-mêmes.
funk, tight syncopated sixteenth-note rhythm guitar through a wah pedal, slapped and popped electric bass driving the pocket, drums locked hard on the one with ghost notes on the snare and tight hi-hat work, punchy horn section stabs of trumpet trombone and tenor saxophone, clavinet and Rhodes electric piano comping in the gaps, congas and cowbell percussion layer, soulful male lead vocal with falsetto ad-libs, call-and-response backing vocals answering the hook, breakdown section stripped to bass and drums, warm analog 1970s production, live band in one room, no synths, no programmed drums, closing jam, extended breakdown to bass and drums, horns return for a final chorus, long fade — 9 titres, dont « Sidewalk Strut »afrobeat, interlocking guitar lines playing against each other, deep repetitive bass ostinato, shekere and congas layered over a shuffling kit, big horn section riffs, organ comping, call-and-response chants, long tracks that build slowly, Afrobeat a 116 BPM en mi mineur. Deux minutes d instrumental avant la premiere voix : la basse pose l ostinato, les guitares s emboitent, les percussions s empilent, les cuivres entrent en dernier. Le chant n arrive qu apres. Un seul accord pendant tout le morceau. Refrain repondu par le choeur. Sept minutes. — 9 titres, dont « Everybody Home »Nu-disco and funk boogie revival, modern French dance-pop, 118 BPM. Opens instantly on the lead vocal over a tight four-on-the-floor kick and a rubbery slap bass groove. Crisp disco hi-hats, handclaps on the backbeat, syncopated funky bassline driving the verses. Signature: punchy brass stabs and a shimmering wah rhythm guitar, with glittering analog synth strings. Warm, charismatic male lead, playful and confident in the verses, with a bright female voice doubling key lines. Big group choir and party shouts on the chorus, call-and-response gang vocals on the post-chorus chant. Pre-chorus builds with rising strings and a filtered drum sweep, chorus explodes with full brass and layered harmonies, bridge drops to bass and claps only, final chorus lifts a key higher with extra horns and crowd vocals. Polished, loud, punchy modern radio mix, wide stereo, tight low end. Vocals from the very f Vocals from the very first word. — 1 titre, dont « On trinque au jour d'après »Two voices alone, unaccompanied, male baritone and punky female chanting the title three times before any instrument, then the band. Hard party funk, 136 BPM, massed horn section riffing in unison, trumpets and baritone sax, gang vocals, room mics pushed, structure: a cappella chant, full band, three escalating choruses, long outro vamp with every percussion layer at once, major, energy 1.0. Slap bass and glass marimba crash in together on the fourth chant; the faucet drip sample is pitched up into the lead hook for the final two minutes. Lead: deadpan sultry British baritone speaking-singing, clipped London consonants, no vibrato; female counter-voice shouting short flat interjections; jazz-gospel trio in call-and-response. High-polish 1983 mix, deep sub-low, hard-panned wide stereo, nothing blurred. No marimba intro, no auto-tune, no rap, no double-kick, no cluttered mix. — 1 titre, dont « Let The Drip Fly »Drawbar Hammond alone, one held chord with the rotary speaker winding up from slow to fast across six bars, pedal rumble and leakage left in, no voice yet. Slow-burn gospel funk, 64 BPM, major, one long crescendo across the whole track, key change into the final choir section, ends on a single sustained chord. Congas enter at the first chorus, full brass section only on the last modulation, no clavinet. Smoky sassy alto woman low and half-detached in verses then belting the last choruses, breathy punky light tenor slightly flat at phrase ends, both close-mic with audible lips and breath, neutral urban English, four stacked soul choir voices in thirds under cathedral reverb against dry leads. High-gloss cinematic mix, wide stereo, deep sub, slapback on ad-libs, live crowd ambience throughout, analogue hiss. No horn intro, no distortion, no rap, no shouting, no autotune. — 1 titre, dont « The Audience Is The Performance »Footsteps crunching on trampled grass with distant PA bleed, then a cheap Casio preset flute line floats over a thin drum machine pattern. Spacious cosmic funk, 86 BPM, major, lots of empty air between parts, long tape echoes, two long verses with no chorus, instrumental fade into a chiptune arpeggio. Clavinet appears only in the final minute; no horn section anywhere on this track. Lead alternates a smoky half-detached alto woman speaking her verses low and a breathy light tenor man slightly flat at phrase ends, close-mic with audible lips and breath, neutral urban English, four-part soul choir in thirds behind them. High-gloss cinematic mix, wide stereo, deep sub, dry forward vocals over long plate tails, slapback on ad-libs, faint crowd ambience, analogue hiss. No distortion, no rap, no metal guitar, no trap hi-hats, no autotune, no bell or music-box intro. — 1 titre, dont « Cosmic Funk For An Empty Lane »Dry rimshot-and-hat groove alone for two bars, slightly swung, one tambourine on the backbeat, then a muted syncopated clavinet riff locks in. Tight minor-key city-pop funk, 103 BPM, clavinet as lead voice, groove-first then verse and chorus, second verse strips to bass and voice, long outro groove fading on the road rhythm. Dry close-mic small room, almost no reverb on drums. Fretless bass slides lift the end of each verse into the chorus; FM electric-piano bells only as sparse comping colour. Sweet clear female voice, early twenties, light bright timbre, soft breathy edge, Japanese with natural Tokyo phrasing, relaxed conversational, self-stacked harmonies on hooks. Rounded low end, crisp drums, short plate reverb on voice, quarter-note echo on phrase ends. No vibraphone intro, no distortion, no trap hi-hats, no rap, no aggressive drums. — 1 titre, dont « 首都高の継ぎ目 »Slap bass thumb-pops and a spoken-sung woman's line together from second one, no intro bars, octave fills snapping between phrases. Polished nu disco funk, 118 BPM, major, strutting and loud, tight gated kick, bright top end, chorus-verse-chorus then extended dance break and doubled final chorus. Horn stabs answer every vocal phrase from the first chorus, congas full time in the second half. Lead alternates a smoky sassy alto woman, low and half-detached in verses, belting the last chorus, and a breathy punky light tenor slightly flat at phrase ends, both close-mic with audible breath, neutral urban English, four stacked soul-gospel voices in thirds. High-gloss cinematic mix, wide stereo, deep sub, dry forward vocals over long plate tails, faint crowd bleed, analogue hiss. No distortion, no rap verses, no shouting, no autotune. — 1 titre, dont « Sassy In The Mud, Queen Of Nothing »